19th Century Fireplaces and Mantels

A large inset antique Victorian 19th century hooded neoclassical style cast iron and brass fire grate basket. The polished serpentine four barr...

An antique Regency period fireplace in Bardiglio and statuary white marbles. The reeded and molded panels on the jambs surmounted by end blocks of carved classical urns in statuary marble. The centre tablet of a lidded classical urn again in statuary marble flanked either side by reeded and molded panels. All supported on foot blocks with a reeded mantel...

Nice looking andirons with a Sphinx. Weight: 14 lbs / 6 kg. Upon request they can be made black / pewter. See all our antique fireplaces and fireplace accessories at 1stdibs by pr...

A rare antique marble fireplace from ancient Portoro marble from Tuscany. Portoro marble is one of the most elegant Italian marbles. The black background with golden veins ensures lu...

An elegant, early 19th Century Italian chimneypiece exquisitely carved with classical and floral motifs, that reference ancient Roman architecture. This reflects the style that preva...

Nice small and very decorative antique cast iron fireback displaying a "weeping women". This fireback is in excellent condition it can...

An incredibly decorative French coal grate, with scrolled foliate , entwined serpents and paw feet. Late 19th century French. Ideal for a small fireplace, bedroom or bathroom etc.

A deep, large scale English solid oak antique fireplace dating from the 1880s. Re-finished, this spectacular fireplace has a rich patina throughout that looks impressive in a variety...

English Sheraton-style (19th Century) rosewood pole screen with rectangular needlepoint framed panel and banded inlaid base.

An exceptional Louis XV Rococo fireplace in dramatically figured breche violette marble of grand proportions. This is perhaps one of the most magnificent French Rococo chimneypieces ...

Beautiful cast iron andirons. Weight: 14 lbs / 6 kg. Upon request they can be made black / pewter. See all our antique fireplaces and fireplace accessories at 1stdibs by pressing ...

Napoleon III fireplace in black marble from Belgium or black marble from Mazy. Dimensions of the fireplace: 80 x 99 cm

American brass and artistic wire work folding fire place screen with a pleasing brass gallery and flanking ball finials. Early 19th century Each adjustable folding end on fire scree...

Richly carved 19th-century trois coquilles mantel in Arabescato marble. This fireplace is entirely crafted in marble, featuring a central shell ornament adorned with scrolls and acan...

Removed from a North Shore mansion with a huge fireplace.

A fine pair of French 19th century Louis XV style gilt-bronze mounted figural chenets. The ornately decorated andirons, each with a figure of a resting Putto (Children) holding a tor...

A large antique Victorian mahogany fireplace reclaimed from a large country house in Yorkshire. Dating to circa 1890, the substantial jamb...

Louis XVI Style Yellow Sienna Marble Mantel circa 1880 Dimension of the heart : 92 x 106 cm

Beautiful antique fireplace from the 19th century in English Regency style! This fireplace has a very chic look and many decorations and ornaments, such as acanthus leaves. An elegan...

A fine Rococo Louis XV chimneypiece in pavonazzo marble. The serpentine shelf sits above a beautifully carved panelled frieze, centred with a shell cartouche framed by sprays of oliv...

Cupid fireback / backsplash Very nice detailed and superbly casted antique 19th century fireback. The fireback displays a very stout looking cupid p...

Beautiful Burgundy stone fireplace with natural veining. Interior dimensions are 83.5cm wide and 100.5cm high. There are some small chips, all visible on the photos. Nothing serious.

This beautiful and square antique cast- iron fireback shows the goddes Dianna. She is a Roman goddess of the hunt, the Moon, and nature. Great...

A Louis XV style Carrara marble fireplace, French, circa 1860, the shaped frieze centred by stylised fleur-de-lys flanked by laurel leaves, the out-turned jambs with acanthus leaves ...

Antique Italian Carrara marble mantel in the Venetian Renaissance style. The jambs with rope twist Corinthian columns supporting large acanthus br...

Lovely tall and decorative fireback with a depiction of Poseidon holding trident, the sea, four horses and cherubs holding trumpet. Bottom is rough and has a repair, overall great...

A beautiful French 19th century marble fireplace mantel. The mantel is raised by elegant jambs with finely mottled supports and most deco...

Nice large Dutch fireplace with scrolled consoles in white marble. This monumental mantel comes from a Dutch gentleman estate, it stood in the main ...

Very interesting Rustic French Louis XV Fireplace. This nice limestone mantel show its age and history. Saved from a derelict building it stood in the rain for many years before ...

An unusual and imposing French Louis XVI style fireplace Breche d'Alep marble and Statuary white marbles. The carved fluted and scrolled console jambs with carved stars to corner blo...

French Victorian wrought iron fire grate with arch design backing with fleur de lis design and sun flower finials on front.

Louis XV Style Fireplace In Rance Marble, Circa 1880 Dimensions of the hearth: 84.5 x 108.5 cm

Beautiful antique fireplace mantelpiece made of Carrara marble from the 19th century in the style of Louis XV. Equipped with a beautiful ornament in the middle and also beautiful orn...

French brass fire screen with flanking rooster heads, centered foliage handle, floral swags, decorative ribbon surrounded by music instruments...

Pair of American brass flanking urn faceted finial andirons with bulbous squared faceted legs, matching faceted bulbous log stops, and resting on the original wrought iron rear dog l...

A very fine chimneypiece with a striking simplicity of form, reminiscent of the work of Sir John Soane.Carved from dramatic dove grey Bardiglio Fiorito marble, the wide stepped shelf...

A handsome neoclassical columned timber fireplace, dating from the late 19th century. The neutral wood colour and sharp angles of this antique fireplace make it a beautiful feature f...

A Highly Important Empire Period Rosso Antico Chimneypiece Inset with Specimen Marble Portrait Reliefs of Roman Emperors The carved and veneered surround comprising a moulded shelf supported by a bold dentil cornice, above an inverted breakfront frieze carved with a central triglyph panel, flanked by a pair of rosettes carved in shallow relief, the frieze mounted with six carved hardstone profile portrait medallions of Roman Emperors, the stop-fluted jambs raised on moulded footblocks; in excellent condition with small restorations commensurate with age and use; the pale inclusions in the stone naturally formed. This spectacular neoclassical marble chimneypiece is carved from Rosso antico, the frieze inset with six portrait reliefs of Roman Emperors, each carved in marmo giallo on a bardiglio background, five variously incised: VESPASIANUS, TIBERIVS, OTHO, JULIUS CAESAR, TITUS. Rosso antico (marmor taenarium) is first recorded as being quarried in 1700 BC at Akra Tainaron (Cape Matapan), Greece.¹ The majority of this stone, however, was extracted throughout the Roman period, when it was one of the most coveted materials for carving due to its rich red colouring and association with highly prized Egyptian ‘Imperial’ Porphyry.² Rosso antico was chosen in antiquity for portrait busts, notably depicting Bacchic subjects such as Dionysus and satyrs due to its rich red wine colour which symbolised conviviality whilst conveying the education and cultivated taste of the owner.³ In the Renaissance, Rosso antico was also used for architectural detail on important buildings, such as the steps leading up to the choir in the medieval church of S. Prassede, and the large columns at the entrance to the Camera dell'Aurora.⁴ In 121 AD, G. Suetonius Tranquillus, secretary to Emperor Hadrian, wrote a biographical history of the first twelve emperors of Rome entitled De vita Caesarum (The Twelve Caesars). A Renaissance edition of Tranquillus’ work was published in 1470, followed by further reprints and translations into all the main European languages. Many of these were illustrated with prints of emperors taken from coins and statues, or imagined by the artist based on Tranquillus’ accounts. These interpretations were copied, in turn, by Renaissance designers for medals, Limoges enamels, and busts, as well as paintings such as the Eleven Caesars, a series of eleven half-length portraits of Roman emperors made by Titian in 1536–40 for Federico II, Duke of Mantua.⁵ These paintings were later given to King Charles I, before being passed in the Commonwealth to the Kings of Spain. Unfortunately, the series was destroyed in the catastrophic fire of 1734 at the Royal Alcazar of Madrid, and is now only known through copies and engravings.⁶ From the middle of the 17th century until the end of the 18th century, there was an insatiable demand for marble carvings, often sold as Roman or assembled from ancient fragments, thus perpetuating the reverence for antiquity that was the quintessence of the Grand Tour. Rosso antico was in extremely short supply, even after the ancient quarries at Skutari were rediscovered in 1830, and remained one of the most highly valued of all stones. Described in 1776 as ‘dark red; scarce and dear’, it was mostly used for small objects such as Grand Tour desk ornaments, inevitably using material re-cut from classical fragments, due to its rarity, as was the case with porphyry.⁷ The portrait roundels on this chimneypiece are typical of those produced in Rome and Florence in hardstones, semi-precious stones, gold, silver, bronze, and mother-of-pearl, which, being easily transportable, would be taken home from the Grand Tour to be mounted within wooden, gilded or brass frames, as fashion dictated.⁸ A group of gold portraits of Caesars, dating from around 1660, are in the Museo Nazionale del Bargello in Florence. Images of Roman emperors were not limited to Italy, England and France, however, as examples executed in Deshima for the Dutch East India Company (Verenigde Oost-Indische Compagnie) show. Medallions depicting Roman emperors, invariably made of black and gold Japanese hiramakie or takamakie lacquer on copper, were produced for the Dutch market at the end of the 18th century. Examples can be found in the Rijksmuseum, Amsterdam.⁹ There are two possible sources for the Imperial profiles on the chimneypiece: the engravings of The Twelve Caesars by Marcantonio Raimondi, or the Imperatorum Imagines by Hubert Golz.¹⁰ The portrait medallions also bear remarkable resemblance to a set of eighteen carved portrait reliefs of Roman Emperors, also of marmo giallo, almost certainly bought by David Ker (1742–1811) of Portavo, Co. Down, on his Grand Tour between 1792–4 in either Florence or Rome. Ker’s diary entry for 17th October 1793 is interesting as it reveals that he was offering his brother a choice of chimneypiece designs, which further supports a Roman origin for the offered example.¹¹ Indeed, fire surrounds incorporating antique fragments had been promoted from the late 1760s by Giovanni Battista Piranesi (1720–78), encouraged by Rome-trained architects including Robert Adam (d.1792). One such example, inset with mythological tablets carved from Rosso antico, was acquired by the 9th Earl of Exeter from Piranesi himself for Burghley House.¹² Another can be found at Islington House, Dorset.¹³ A third, inset with giallo antico and Rosso antico, follows Piranesi’s engraved design dated 1769 for a fire surround mounted with three marble portrait reliefs.¹⁴ It should be re-emphasised that Rosso antico was so precious that it was only ever used for small tablets or details rather than an entire chimneypiece, as with the offered example; likewise, while portrait reliefs are occasionally seen on the jambs of Italian surrounds, it is exceptionally rare to see the frieze mounted with a group, especially of this scale: the combination indicates an architectural commission by an extremely wealthy patron. The sophisticated lines of this chimneypiece epitomise the French Empire influence on the Italian states at the turn of the 18th century. This idiosyncratic ‘Roman’ taste is encapsulated by that of Napoleon, who identified with Rome’s Imperial past. Napoleon’s desire to establish a visual link between himself and Roman emperors is demonstrated by the portraits of his court painter, Jacques-Louis David, inspired by portraits of Emperor Augustus. This Imperial taste extended to architecture, furniture and porcelain, the latter two of which are combined in a group of magnificent ormolu-mounted guéridons commissioned in Sèvres between 1803–11, made to immortalise Napoleon’s reign.¹⁵ The second guéridon in the series, the Table des Grands Capitaines (Table of the Great Commanders of Antiquity), commissioned in 1806, is made almost entirely of hard-paste Sèvres porcelain. The top, painted in imitation of sardonyx, is centred by a portrait cameo of Alexander the Great, surrounded by twelve smaller heads of commanders and philosophers from antiquity: Pericles, Scipio Africanus, Pompey, Augustus, Septimus Severus, Constantine, Trajan, Caesar, Mithridates, Hannibal, Themistocles and Miltiades.¹⁶ Louis XVIII presented the table to the Prince Regent (later King George IV) in 1817 as a token of appreciation for Napoleon’s defeat two years earlier, and George IV treasured it so highly that it became part of the ceremonial backdrop for all his state portraits. The table remains in the Royal Collection.¹⁷ This chimneypiece remained, until recently, in the possession of a noble Dutch family, who acquired it from the owners of a bombed Knightsbridge house in the 1940s; unfortunately, its provenance prior to this has been lost. The use of Rosso antico on this scale, inset with these splendid Imperial profile medallions, appears unparalleled. 1. J. B. Grossman, 'Looking at Greek and Roman Sculpture in Stone' (Los Angeles, 2003). Grossman states that this material was ‘...quarried in three places during antiquity: on Cape Tainaron present day Matapan on the Peloponnese of Greece; on Crete; and at the site of Iasos in Asia Minor. 2. L. Lazzarini, ‘Rosso antico and other red marbles used in antiquity: a characterization study’, Marble, Art Historical and Scientific Perspectives on Ancient Sculpture’ (1990), 237–252. C. Gorgoni, L. Lazzarini, P. Pallante, ‘New archaeometric data on Rosso antico and other red marbles used in antiquity, ASMOSIA VI, Interdisciplinary Studies on Ancient Stone’ (2002), pp. 199–206. J. Deér, trans. G.A. Gilhoff, The Dynastic Porphyry Tombs of the Norman Period in Sicily (Cambridge, 1959), p. 144. R. Gnoli, Marmora Romana (Rome, 1988), pp. 187–191. 3. A notable example is a satyr from the Emperor Hadrian's villa at Tivoli, now in the Capitoline Museum, Rome. Another is the head of a satyr in the Minneapolis Institute of Arts, accession no. 2006.110. See T. Opper, Hadrian. Empire and Conflict (London, 2008), p. 165, fig. 149. 4. De Luca, Marmi antichi (Rome, 1998), p. 126. Faustino Corsi, Catalogo ragionato d’una collezione di pietre di decorazione (Rome, 1833), p. 93. 5. For related Limoges medallions, see set of ten circular Limoges enamel medallions depicting Roman emperors, en grisaille with gilding, from the workshop of Jacques I Laudin, sold Christie’s London, Fine Renaissance Bronzes and Works of Art, 19 December, 1977, lot 95. 6. See set of drawings sold Sotheby’s London, Of Royal and Noble Descent, 24 February, 2015, lot 184. 7. J. J. Ferber, Raspe’s Travels through Italy in the Years 1771–1772 (London, 1776), p. 218. 8. See Sotheby’s London, Pelham, the Public and the Private, 8 March 2016, lot 75: ‘A set of twelve mother-of-pearl cameos of Roman Emperors, Southern Italian, early 19th century’ 9. Oliver Impey, Christiaan J.A. Jörg, Cynthia Viallé, Japanese Export Lacquer 1580–1850 (Amsterdam, 2005) pp. 48–57, no. 56 & 57. 10. For a further reference, see the candlesticks by Jacques I Laudin in the Waters Art Gallery, illustrated in P. Verdier, Catalogue of the Painted Enamels of the Renaissance (Baltimore, 1967), p. 389, nos. 207 & 208. 11. John Ingamells, A Dictionary of British and Irish travellers in Italy 1701–1800 (London, 1997), pp. 572–3. 12. Oliver Impey, Four Centuries of Decorative Arts from Burghley House (Virginia, 1998), p. 53, fig. 23. 13. Country Life, 12 June, 1997, p. 162, figs. 9–11. 14. A. González-Palacios, Il Tempio del Gusto, Roma e il Regno delle due Sicilie, Vol. II (Milan, 1984), pp. 592–93, p. 260. 15. S. Grandjean, 'Napoleonic Tables...

Antique 19th century Louis XVI French Rouge and Carrara marble fireplace mantel. Beautifully veined marble fireplace mantel creates a f...

A large and grand antique Statuary marble fireplace dating to the 1850’s. Each pilaster with two full rounded and free standing Corinthian columns th...

An elegant antique chimneypiece in Statuary White marble, and inlaid Convent Sienna. The jambs having delicately carved panels of ribbon tied bell drops, scrolls, foliage and oval Pa...

An early to mid 19th century Gothic style English limestone fireplace. Unusual in design, very well proportioned and a substantial piece. The castellated shelf which steps down to sit on a plain frieze with carved ends to meet the roundels carved at the top of the jambs, which are inverted with interior panels with outer mouldings. Areas of this surround with natural fossil and patterning adding to its charm. A superior quality Gothic surround...

Pair of American brass banded flanking ball finial andirons with circular ringed plinths, matching curvature banded log stops, and resting on the original wrought iron rear dog legs....

French brass free standing fire screen with centered floral handle, swag finial motif, foliage motif, and terminating on scrolled block feet. Early 19th Century

A Georgian carved pine fire mantel made using materials dating from the mid 18th century, later adapted. With a warm wood colour, this antique fire surround features a classical dog ...

An English Louis style carved oak fire mantel, reclaimed from a country house near Bedford. Dating to circa 1820, this antique fireplace is exceptional...

A fireplace screen with diagonal wide mesh on ten vertical iron supports and with an iron base rail and a brass top rail, with iron scrollwork to the center. This one is particularly...

A tall antique Jacobean style carved oak fireplace with an impressive linen fold panelled overmantel. Striking in style and stature, this fireplace dates from the late 19th century ...

Pair of English Regency tole chestnut urns with hand-painted floral decorative motif, removable lids with acorn finials, original lions head side ha...

This French Red Levanto Marble Mantel is an exquisite piece of craftsmanship from 1870s France. With its bolection style carvings, it adds a touch of elegance to any room. Made from ...

Beautiful exclusive antique fireplace made of Carrara marble from Italy! This 19th century fireplace is in the style of Louis XV and richly decorated with various ornaments in the fr...

American brass and artistic wire work folding hinged panels fire place screen, Early 19th Century.

And beautiful antique English cast iron fireplace. This cast iron fireplace can be placed in front of an existing fireplace or can be place...

An antique Jacobean wrought iron fire basket, reclaimed from a property in Gloucestershire. Dating to circa 1880, this reclaimed fire grate has an elegant, minimalist design with poi...

Beautiful, authentic Louis XIII style mantelpiece, made from the rare Fleur de Pêche marble. This elegant mantelpiece dates back to the early 19th century and has been carefully pres...

Beautiful antique marble fireplace mantel from the 19th century. To place in front of the chimney. Recuperated from a mansion near Paris, France.

An impressive, antique Regency chimneypiece carved from fine Statuary Marble. Delicately carved details are seen throughout. A deep profile urn with overflowing florals adorns the...

Important early 19th Century antique fireplace in Statuary Carrara marble with quiver-shaped columns and gilt bronze ornaments. Its original provenance is Chateau de la Gesse - Boul...

A decorative pair of cast iron fireback interior panels. The centre panels with putti and foliage, surrounded by rosette patterns. English, 19th centur...

Large Fleur de Pêche marble and ormolu antique fireplace French, 19th Century Height 121cm, width 188cm, depth 63cm This stunning fireplace combines unusual Fleur de Pêche marble with sculptural ormolu mounts. The fireplace consists of a panelled frieze, below which is the wide serpentine opening. The twin jambs are canted in form, and are supported by footblocks. The use of the historic Fleur de Pêche marble is particularly pleasing: featuring deep veining in a palette of cream, purple, and brown, the marble was highly popular for opulent 19th century design, adorning elite interiors such as the main hall of the Napoleon III apartments in the Louvre. The fireplace is adorned with several ormolu mounts. A large Rococo scallop shell form decorates the centre of the marble frieze, trailed by acanthus leaves. The upper sections of the jambs are applied with female terms, whose bodies dissolve into further acanthus-style forms. The bottom sections also feature gilt-bronze decoration, with further scallop shell designs. The fireplace also features a cast-iron inset, decorated with geometric designs. The fireplace clearly takes inspiration from the Rococo-style fireplace in the Council Cabinet in the King’s Apartments at Versaille, which was designed in the late 18th century by Jacques Verberckt and Jacques Caffiéri. Whilst the deep red marble of the Versailles fireplace...